Theatre Design & Technology - Summer 1979 - 11

was invited to be chief designer in Bratislava he decided to
stay in Prague and recommended Vychodil in his place.
In Bratislava, Vychodil found limited facilities and staff; his
task became one that demanded a major effort of organization and training in order to build up workshops and personnel. The measure of Vychodil's achievement in this effort is
that before long these shops began constructing sets not only
for many of the regional theatres in Slovakia but also for
several theatres in Austria, in addition to the sets of the
several stages of the Slovak National Theatre in Bratislava.
He also established the five-year scenography school, where
he still teaches three days a week. One result of Vychodil's
multiple activities is that the quantity of his own design work is
less than it might otherwise have been, and finding time to
design abroad is a problem.
Perhaps because of his lengthy experience as a teacher
and administrator Vychodil is more inclined than most desig ners to discuss his field and his own work in theoretical,
analytical terms. He places himself, for example, between the
two main tendencies of modern stage design: that which
emphasizes the designer as painter (which Vychodil associates with the Russian and Polish tradition), and that which
emphasizes the designer as architect of stage space (the
German and Czech tradition). For Vychodil, the element of
space is central, but color as produced by the effect of lighting on varying materials, textures, and forms is very significant. Vychodil's own studies leaned heavily on drawing, geometry, and painting. "I have always sought ways to bring
painting on stage. To forego color would be a great loss.'" But
for the most part Vychodil has brought color to the stage not
with paint brush and pigment but with lighting and the surfaces it illuminates.

Style
With regard to method of work and style, Vychodil has
expressed an uneasiness if not aversion to what he calls
vytvarnost (which might be best translated as hyper-design or
"design-itis"), by which he means the tendency of a designer
to dominate an entire production, to say virtually all that
needs saying about the nature of the play, and implicitly make
the work of the actor almost superfluous. Vychodil identifies
this tendency with Expressionism, and sees it in the work of
his notable native predecessors Vlastislav Hofman and
Trester, Vychodil's own mentor. While Vychodil does not exempt some of his own work from its symptoms he prefers to
identify himself with an alternate tendency in Czech art and
stage design of the 1920's, Poetism, which, although lyrical
and emotive, implied greater restraint and more controlled
sensitivity, understatement rather than exaggeration, economy and grace rather than force and distortion. Its exemplars
included Frantisek Muzika, Frantisek Zelenka, and especially
Antonin Heythum, for whom function was as important as
interpretation. 3 The logical extension of this tendency is a
suppression of traditional stage decor and increasing emphasis on props and related details. "This method is characterized by the designer not expressing himself fully, but by
counting on the cooperation of other elements. At times it
may appear that the designer's work almost entirely disappears
his work logically blends with the work of the
director * This ideal, as Vychodil is frank in pointing out, is
relatively rare. In practice, the designer usually takes care to
get something of his own into the design that survives potential directorial caprice and makes its effect even if the production as a whole is a disaster. In principle this is not right and
'&' Jarka M Burian. 1979

must be resisted, according to Vychodil. A director with
whom he found it relatively easy to resist this tendency was
Alfred Radok.
Many of Vychodil's comments about stage design and
scenography concern the priority of the actor:
We start from the premise that the main design element on stage
is the figure of the actor. It creates the design accent. ... The set
itself should be regarded as a background for a picture composed of human figures'

The background, however, is best when neutral in color tonality, reserving both color and lighting accents for these figures.
Moreover,
this neutrally colored setting in and of itself . .. should seem
unfinished, not fully resolved, lacking a compositional accent,
which is the actor. Only with his entrance does the scene achieve
completed form and a culmination in meaning and color..
even costumes are again only "background" for the actor's features'

A corollary of many of these principles is a certain conservatism with regard to reliance on the technical. Not that
technical innovations and their employment on stage are to
be scrapped, but that they are de-em phasized as primary
sources of striking effects, subordinated except when showing the actor's work in distinctive ways. Vychodil has especially decried the faddish, imitative chasing after technical
novelties. Indeed, he has questioned the frequently voiced
assumption that modern technology equals modern theatre:
To think that contemporary theatre will emerge when we use that
which is characteristic of today's times, that by using the technical we shall evoke the feeling of the present, is surely superficial
and spuriOUS.'

During the first twenty years of Vychodil's work with major
theatres (1945 to 1965) he experienced five chief periods. The
early post-war years show most clearly the influence of
Trester and his preoccupation with architectonic, abstract
forms. The stage floor receives primary attention and assumes a variety of plastic configurations, often against an
indefinite, darkened background. By 1951, however, the imposed influence of socialist realism becomes apparent, with
literal, imitative detail and often monumental scale as approved criteria. Vychodil makes extensive use of traditional
scene painting techniques; two-dimensional painted perspective dominates the architectural or sculptural organization of space. Then, as if in reaction to this artistically stultifying period, Vychodil's work in the second half of the 1950's
reveals a stage swept clean of literal realism and pigmented
canvas. Interestingly enough, the earlier experiments with
many-levelled floors and constructivist structures are also put
aside in favor of a flat, or at least unbroken, floor. It is in this
third period or phase that Vychodil most fully seems to practice economy of effect, to reject "design-itis," to seek a functional rather than richly expressive set, and to emphasize the
actor. He makes significant use of the cyclorama and special
lighting, particularly in terms of developing colored neutral
tonalities, but also in the use of projections.
This period blends into a fourth, during the early and mid1960's, when Vychodil's sets become richer, more emotive
and expressive. The treatment of the floor again becomes
more complex as does the treatment of the cyclorama; he
makes striking use of hung (flown) elements, often in several
planes, which results in what has been called a relief setting,
or what we might refer to today as a layered look. Supplementing these tendencies are correspondingly more complex
Theatre Design & Technology

9



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1979

Contents
Theatre Design & Technology - Summer 1979 - 1
Theatre Design & Technology - Summer 1979 - 2
Theatre Design & Technology - Summer 1979 - 3
Theatre Design & Technology - Summer 1979 - Contents
Theatre Design & Technology - Summer 1979 - 5
Theatre Design & Technology - Summer 1979 - 6
Theatre Design & Technology - Summer 1979 - 7
Theatre Design & Technology - Summer 1979 - 8
Theatre Design & Technology - Summer 1979 - 9
Theatre Design & Technology - Summer 1979 - 10
Theatre Design & Technology - Summer 1979 - 11
Theatre Design & Technology - Summer 1979 - 12
Theatre Design & Technology - Summer 1979 - 13
Theatre Design & Technology - Summer 1979 - 14
Theatre Design & Technology - Summer 1979 - 15
Theatre Design & Technology - Summer 1979 - 16
Theatre Design & Technology - Summer 1979 - 17
Theatre Design & Technology - Summer 1979 - 18
Theatre Design & Technology - Summer 1979 - 19
Theatre Design & Technology - Summer 1979 - 20
Theatre Design & Technology - Summer 1979 - 21
Theatre Design & Technology - Summer 1979 - 22
Theatre Design & Technology - Summer 1979 - 23
Theatre Design & Technology - Summer 1979 - 24
Theatre Design & Technology - Summer 1979 - 25
Theatre Design & Technology - Summer 1979 - 26
Theatre Design & Technology - Summer 1979 - 27
Theatre Design & Technology - Summer 1979 - 28
Theatre Design & Technology - Summer 1979 - 29
Theatre Design & Technology - Summer 1979 - 30
Theatre Design & Technology - Summer 1979 - 31
Theatre Design & Technology - Summer 1979 - 32
Theatre Design & Technology - Summer 1979 - 33
Theatre Design & Technology - Summer 1979 - 34
Theatre Design & Technology - Summer 1979 - 35
Theatre Design & Technology - Summer 1979 - 36
Theatre Design & Technology - Summer 1979 - 37
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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